The Oath


The most awkward Thanksgiving dinner EVER!

(2018) Dramedy (Roadside Attractions) Ike Barinholtz, Tiffany Haddish, Billy Magnussen, John Cho, Nora Dunn, Max Greenfield, Jon Barinholtz, Meredith Hagner, Jay Duplass, Carrie Brownstein, Chris Ellis, John Ducey, Jon Lovett, Priah Ferguson, Henry Kaufman, Brian Guest, Matt Conboy, Ithamar Enriquez, Brett Lapeyrouse, Molly Erdman. Directed by Ike Barinholtz

 

We live in an extraordinary time, and not in a good way. Our country is divided as it hasn’t been since the War Between the States. Politics have become a blood feud with two intractable sides refusing to listen to each other or admit that the tactics of their side could be anything but above reproach. Politics are dividing friends and family like never before.

Chris (I. Barinholtz) is one of those progressive sorts who watches cable news like a hawk and this, predictably, keeps him in a constant state of anger. He doesn’t have discussions so much as he has apocalyptic rants, quite sure that the latest thing the left is doing signals the end of life as we know it. However, this time he has good reason: the President (never identified in the film but c’mon – it’s meant to be Trump) has ordered that all Americans sign an oath of loyalty. Not to the country, but to the President.

Of course, Chris loses his mind and swears he’d sooner gouge out his eye with a spoon than sign this thing. His savvy and level-headed wife Kai (Haddish) agrees with him but in a less strident tone and at a less ear-splitting volume. The deadline for signing is Black Friday – the day after Thanksgiving. It so happens that Chris and Kai are having Thanksgiving dinner this year at their home with Chris’ somewhat clueless parents (Ellis, Dunn), his conservative-leaning brother Pat (J. Barinholtz), Pat’s similarly right wing girlfriend Abby (Hagner) whose name Chris defiantly refuses to say correctly, and his sister Alice (Brownstein) who tends to side with Chris.

The dinner predictably escalates into armed warfare between Chris and his brother’s girlfriend as the news shows images of protesters getting shot and left-leaning websites report that a government agency called the  Citizen’s Protection Unit (CPU) has been taking protesters away, never to be seen again. Chris’ paranoia reaches redline fever when two CPU agents, Mason (Magnussen) and Peter (Cho) show up at his door. Then things go from bad to worse.

I don’t think I’ve seen a movie yet that captures the ongoing political division of this country as this one does. Barinholtz, a first-time filmmaker, wrote and directed this and while you can see some of the rookie mistakes – the tonal shift between the first half which is more comedic and the second half, which is more of a thriller along the lines of The Purge. The dichotomy between the two is a little bit jarring to say the least. In many ways the second half is a bit surreal, going in a completely unexpected direction and detracting from the power of the first half..

Barinholtz though coaxes a magnificent performance from Haddish, in my opinion her best to date. She’s caught in the middle between her hair-trigger husband and her equally passionate brother-in-law’s girlfriend. Chris doesn’t act civilly all that often; you either agree with him or you’re a fascist and Chris is one of those liberals who thinks they know what’s right better than anyone. Kai is the mitigating factor that keeps Chris from getting too toxic, although it’s obvious that the job of being his buffer is wearing on her.

While it is clear that the filmmakers’ sympathies lie with the left, they at least have a clear enough head to recognize that the progressive side has its own share of hostility. Much of what we see onscreen are things I’ve witnessed first-hand among liberal as well as conservative friends. While the ending is a bit far-fetched, at least it leaves us with the hope that we’ll be able to learn to talk to each other again someday. Hope is a precious commodity these days and this movie at least has that, although it is cynical in places to the point of head-exploding madness. Hope is something to be cultivated and yes, discovered in movies as well. As for me, I hope Barinholtz continues to make movies; he shows he has a real talent and talent like his should be encouraged.

REASONS TO GO: This is possibly the finest performance ever by Tiffany Haddish.
REASONS TO STAY: The movie goes off the rails in the second half.
FAMILY VALUES: There is a bunch of profanity, some of it graphic. There is also brief violence, nudity and sexual situations.
TRIVIAL PURSUIT: Barinholtz was once a member of the MadTV troupe.
CRITICAL MASS: As of 10/19/18: Rotten Tomatoes: 66% positive reviews. Metacritic: 58/100.
COMPARISON SHOPPING: Idiocracy
FINAL RATING: 6.5/10
NEXT:
Stella’s Last Weekend

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Juliet, Naked


Love triangles are inherently awkwward.

(2018) Romantic Comedy (Roadside Attractions) Rose Byrne, Ethan Hawke, Chris O’Dowd, Jimmy O. Yang, Megan Dodds, Lily Newmark, Azhy Robertson, Ayoola Smart, Lily Brazier, Johanna Thea, Georgina Bevan, Paul Blackwell, Janine Catterwall, Michael Chapman, Ko Iwagami, Karol Steele, Steve Barnett, Lee Byford, Florence Keith-Roach. Directed by Jesse Peretz

 

Sometimes to make a relationship work, we go along to get along. That’s all well and good but it can leave us in a rut that is anything but comfortable but we accept that it’s the way that things are and we just accept our situation. What do we do then when that which put us in that rut in the first place kicks us out violently?

Annie (Byrne) is in one of those ruts. She is certainly a go along to get along kind of gal; she curates a local museum in an English seaside town because her father left it to her to do. She lives with her boyfriend Duncan (O’Dowd) essentially because she’s used to him; they’ve been together for eight years in a kind of stagnant inertia-free relationship. He works as a professor of Film and TV studies at a local college when he’s not taking Annie for granted or ignoring her needs.

In fact it can be said that he has more passion for a forgotten indie rock musician named Tucker Crowe (Hawke) than he does for Annie. Crowe was a singer-songwriter of enormous potential having released a well-regarded album called Juliet chock full of loved-and-lost songs that bespoke a soul that had something to say when he exited a tour mid-set and dropped out of sight. The blog that Duncan runs endlessly discusses with other Crowe fans the minutiae of the few songs released to the public and reviews bootleg tapes of live Crowe performances from back in the day. There are some who believe that Crowe is in fact dead and gone

It turns out he’s alive and well. A demo tape of Crowe’s original album titled Juliet, Naked makes its way to Duncan but is intercepted by Annie who gives it a listen. She sees it as a naked cash grab by someone trying to live off of past glory and posts it in response to Duncan’s worshipful review of the piece. As it turns out the real Tucker Crowe reads the review and Annie’s stark response and he appreciates the honesty. It turns out he is coming to England to visit an estranged daughter, one of several progeny from a variety of post-rock star lovers, most of whom he hasn’t had much contact with. The only child of his that he spends any time with is Jackson (Robertson), possibly because Jackson’s mom (who has a new beau) allows Tucker to live rent-free in her garage.

It turns out that Crowe has struck up an e-mail correspondence with Annie and the two are developing a relationship. It also turns out that Duncan has messed up big time and Annie has asked him to leave. And it turns out that Duncan has difficulty believing that the other man in Annie’s life is the object of his obsession.

If you guessed that this sounds like something Nick Hornby would write, give yourself a pat on the back – it’s based on a novel by the prolific English writer. If the plot doesn’t give it away, then the terrific soundtrack that includes songs by Red House Painters and Hawke himself covering the Kinks criminally overlooked “Waterloo Sunset” should seal the deal.

Hawke has been on something of a roll for the past five years, turning in one outstanding performance after another. In fact, ever since Boyhood I can’t think of any movie he’s been in that he hasn’t been outstanding in. He is a fair enough singer as well, performing original songs written by luminaries like Connor Oberst for the soundtrack.

Byrne isn’t really well-suited to play dowdy but she does a credible job of it. However, the real revelation (sort of) is O’Dowd who essentially steals the movie. His hangdog look and oblivious demeanor is perfect for Duncan. O’Dowd strikes the right notes as the comic relief and has moments of actual pathos during the course of the movie which he proves quite adept at. Duncan isn’t the most likable of characters but O’Dowd imbues him with enough charm that we don’t end up loathing him, although we end up cringing at his actions.

The movie can be a bit talky in places and there are rom-com clichés in abundance. However, the movie finds humor in the ordinary (despite the extraordinary premise) and those moments really are the best ones in the film. It seems to me that rom-coms are making a bit of a comeback after a few off years following a period when we were inundated by cookie cutter romantic comedies that led to a bit of a pushback by the moviegoing public who demanded (and got) better romantic comedies. This isn’t a game changer by any standard but it is a solid and entertaining entry into the genre which in 2018 isn’t a bad thing at all.

REASONS TO GO: O’Dowd steals the show. The soundtrack is terrific.
REASONS TO STAY: There are a few rom-com clichés.
FAMILY VALUES: There is some profanity.
TRIVIAL PURSUIT: Byrne was six months pregnant during shooting. Her condition was covered up using shots medium shots and close-ups and strategically placed props.
CRITICAL MASS: As of 8/31/18: Rotten Tomatoes: 80% positive reviews. Metacritic: 66/100.
COMPARISON SHOPPING: Song to Song
FINAL RATING: 7/10
NEXT:
Blood Fest

Finding Your Feet


Dancing never gets old.

(2017) Dramedy (Roadside Attractions) Imelda Staunton, Timothy Spall, Celia Imrie, Joanna Lumley, David Hayman, Phoebe Nicholls, Josie Lawrence, John Sessions, Indra Ové, Richard Hope, Sian Thomas, Victoria Wicks, Marianne Oldham Jacqueline Ramnarine, Fran Targ, Paul Chan, Alex Blake, Frankie Oatway, Peter Challis, Patricia Winker, Karol Steele. Directed by Richard Loncraine

 

For some reason, the British seem to be very adept at putting out movies about people approaching their golden years with a certain joie de vivre. From Waking Ned Devine through The Best Exotic Marigold Hotel through this Richard Loncraine-directed entry, they have taken a fairly formulaic plot and elevated it somewhat through the casting of some of the best actors of their generation and created a style of movies that is squarely aimed at the AARP set here but should have plenty of appeal to those with older parents or grandparents.

Lady Sandra Abbott (Staunton) is executing the party celebrating the knighting of her retiring husband (Sessions) with all the discipline of a five-star general. Things are going swimmingly until she discovers hubby canoodling in the cloak room with her best friend Pamela (Lawrence). Furious and humiliated, she moves out into the home of the only person who’ll have her; her big sister Bif (Imrie) who is about as opposite of the snooty, class-conscious Sandra as it’s possible to be. Bif is a free-spirited Bohemian who hasn’t strayed far from her hippie roots.

At first the two are eternally at odds and despite the good-hearted attempts of Bif to cheer her sister up, Sandra is a lot more wounded than she’s willing to admit. Finally Bif manages to convince her to attend the dance class she attends at the local community center. There she meets Jackie (Lumley), the lone patrician in the group; working class Ted (Hayman) and more to the point, Charlie (Spall) who is a good friend and confidante of Bif and who is a bit of a handyman for her. Naturally, Sandra despises him.

Of course you can guess where the film is going to go from there and – spoiler alert – it does just that. All the elements are there; mortality, Alzheimer’s, late life romance and a big competition in which the elderly will be taking on much younger groups. At times the movie seems to make a joke out of Bif’s sexual activity – as if sex started with the young – but to Loncraine’s credit he seems to prefer giving the seniors a sense of normalcy which is of course reality – the elderly do have sex from time to time, they talk about it in bawdy terms from time to time, they do physical activities and they are generally aware of current trends. It feels like moviegoers have a tendency to prefer our retirees to be un-hip and sedentary. That’s also quite far from reality; there are lots of those who are 20 years my senior who are in far better shape than I am and who know more about rap and modern pop culture than I do.

This is a movie that makes a lot of hay from the charm of the leads. Spall often plays venal roles but given a genuinely nice guy part to play he fills the screen with a brilliant smile and authentic warmth. You end up rooting for Charlie and late in the movie when he makes a critical relationship error, you can’t help but feel for the guy. There’s a scene that takes place shortly after a visit to a loved one in a nursing home in which he sits in his car and slowly his demeanor is stripped away and his sorrow and grief come to the fore. It’s the kind of scene in other hands would feel maudlin and manipulative but instead you find yourself misty-eyed as well.

I have to admit that every time I see Staunton onscreen I think “Dolores Umbridge” and that’s a tribute to her very underrated performance in that role which many know her best at, but I suspect many Americans would be astonished to discover that she has a long and honored career in musical theater. When she gets to dance she shows the kind of grace and style that comes from being a musical theater star and if the movie makes a tactical mistake it’s that they didn’t give her more opportunities to dance. Imrie similarly is pixie-ish and eye-twinkling and is a joy in this role. Is it any wonder that they were all snatched up by the Harry Potter franchise?

Da Queen is an absolute sucker for this kind of movie and it hit all her feels in spades. She loves a good cry during the course of a movie and even more she loves to feel good leaving the theater and she got both of those check marked by this film. I’ll be really honest with you; I didn’t have very high expectations for this movie and I was pleasantly surprised. Yes, this is for sure aimed at an older crowd but don’t let that stop you from seeing a movie that will make you feel good after seeing it. Goodness knows that we could all use all the good feelings we can get.

REASONS TO GO: Spall, Staunton and Imrie all turn on the charm. The film is genuinely heartwarming without being too manipulative.
REASONS TO STAY: The story is somewhat predictable.
FAMILY VALUES: There is brief drug use, sexually suggestive material and occasional profanity.
TRIVIAL PURSUIT: Spall and Imrie played husband and wife in The Love Punch.
CRITICAL MASS: As of 3/31/17: Rotten Tomatoes: 77% positive reviews. Metacritic: 54/100.
COMPARISON SHOPPING: Unfinished Song
FINAL RATING: 7.5/10
NEXT:
Caught

Wonderstruck (2017)


Sometimes the most exciting adventures can start on the other side of a closed door.

(2017) Drama (Amazon/Roadside Attractions) Julianne Moore, Oakes Fegley, Millicent Simmonds, Michelle Williams, Tom Noonan, Jaden Michael, Amy Hargreaves, Morgan Turner, Ekaterina Samsonov, Lilianne Rojek, John Boyd, Cory Michael Smith, James Urbaniak, Anthony Natale, John P. McGinty, Damian Young, Sawyer Niehaus, Raul Torres, Lauren Ridloff. Directed by Todd Haynes

 

The difference between childish and childlike is the difference between being self-focused and being struck by wonder. In the former, all we can think about is our immediate desires; in the latter, the world is fresh and new and worthy of exploration. Deep down, all of us yearn to be wonder struck.

It is 1977 and Ben (Fegley) is grieving the loss of his mother (Williams) in a car accident. He doesn’t know who his father is and his mother refused to discuss the matter, wanting him to wait until he was older but she passed before she could tell him what he wants, what he needs to know. Sent to live with his aunt (Hargreaves), he sometimes sneaks back to his old house to immerse himself in the things that surrounded him. There he finds a clue to his father’s identity on a bookmark with a New York City address, a far journey from his Gunflint, Minnesota address. On his way back to his aunt’s, he is struck by lightning and left deaf.

It is 1927 and Rose (Simmonds) has been deaf all her life. Her overbearing father (Urbaniak) wants her to learn how to lip read but she’s having none of the tedious lessons from an insensitive teacher. She is obsessed with silent screen star Lillian Mayhew (Moore) who is performing on Broadway so she leaves her Hoboken, NJ mansion and runs away to the city to see her idol.

Both of these children will encounter New York’s Museum of Natural History – the one where the displays come to life after dark if such things can be believed. Both will be captivated by similar displays and both are connected over time without knowing it.

Haynes is an extraordinary visual director who tends to favor films that are concerned with transformative experiences, so in a sense this is right in his wheelhouse but at the same time it’s a bit of a departure for him. The film is a lot more mainstream than his films normally are – although his last one, Carol, was Oscar-nominated and was at least a modest success but it certainly couldn’t be described accurately as “mainstream.”

Some distinctions need to be made here; this is a film about children but it isn’t a children’s film. While some kids who are a bit more eclectic in their cinematic taste might appreciate it, it is adults who are going to find more magic here than the younger set. Haynes has always had a really good sense of era; the 1977 sequences are in garish color and as Ben emerges from a trash-strewn Port Authority to the strains of Deodato’s funky version of Also Sprach Zarathustra which is perfect for the moment. We see New York in a moment where it is grimy, gritty and harsh, a city decaying from its grandeur but still confident in its greatness. The 1927 sequences are in black and white and are silent which is also appropriate; in these sequences New York is magical, the center of the world, the place everyone wants to be and for good reason. Haynes and editor Alfonso Gonçalves skillfully weave the two stories into a viable whole without jarring the audience, a masterful feat.

Here I must mention the music. I’ve never been a huge Carter Burwell fan but this is by far his most brilliant score to date. It is the kind of music that breaks the heart and centers the viewer in both eras. The use of period music, particularly in the more recent sequence, is near-perfection and hearing two era-appropriate versions of David Bowie’s “A Space Oddity” shows not only intelligent planning on the matter of music but a good deal of intuition. I don’t often buy film scores but I just might this one.

This is based on a book by Brian Selznick (who also did the book that spawned Martin Scorsese’s Hugo) and Selznick wrote the screenplay. I haven’t read the book but judging on what I saw on screen it couldn’t have been an easy adaptation. I do have some complaints about the film however; there were a few too many plot contrivances that made this feel like one of the Disney Channel’s weaker efforts at times and distracted from the overall magic of the film. Also Fegley was somewhat over-the-top in his performance; he should have been instructed to dial things down somewhat. Simmonds was much more effective in her role. Moore, who has collaborated with Haynes on four films now, shines as the silent film star but more so in a mystery role that she appears in near the film’s conclusion – more I will not tell you.

Capturing the sense of wonder of childhood is no easy task and Haynes can be forgiven if he wasn’t always entirely successful. We do get a sense of the frustration that physical limitations can put on someone and while this isn’t the definitive story about deafness, it is at least one that I think that the non-hearing community will appreciate. I wasn’t quite wonder struck by Wonderstruck but I did appreciate it and I do recommend it and I think that you will enjoy it if you give it half a chance.

REASONS TO GO: The score is amazing. Making the 1920s sequences silent and black and white is very clever.
REASONS TO STAY: Fegley is a little bit hammy. Overall the movie is a bit Disney Channel-esque.
FAMILY VALUES: The themes are a little bit on the adult side.
TRIVIAL PURSUIT: Simmonds is deaf in real life; her performance so moved Will Smith at the film’s Cannes screening that he personally congratulated the young actress.
CRITICAL MASS: As of 11/10/17: Rotten Tomatoes: 71% positive reviews. Metacritic: 72/100.
COMPARISON SHOPPING: Life in Wartime
FINAL RATING: 6.5/10
NEXT:
A Murder in Mansfield

Stronger


Love makes us stronger.

(2017) Biographical Drama (Roadside Attractions) Jake Gyllenhaal, Tatiana Maslany, Miranda Richardson, Richard Lane Jr., Nate Richman, Lenny Clarke, Patricia O’Neil, Clancy Brown, Katherine Fitzgerald, Danny McCarthy, Frankie Shaw, Carlos Sanz, Michelle Forziati, Sean McGuirk, Karen Scalia, Judith McIntyre, Dr. Jeffrey Kalish, Cassandra Cato Louis, Rena Maliszewski. Directed by David Gordon Green

 

In the aftermath of tragedy, it is perhaps the glory of humanity that we rise up and overcome. Even the most horrific of circumstances can bring out our resilience to an almost miraculous degree. It is in these situations that we as a species ten to show the most grace.

Jeff Bauman (Gyllenhaal) is a working class guy from Chelmsford who lives and breathes Boston sports, carves roast chicken at a local Costco and hangs out with his friends after work. There is the matter of a girl, Erin Hurley (Maslany) whom Jeff is absolutely crazy about but he always seems to find a way to mess it up. She justifiably complains that he never shows up; he promises that this time, he will.

This time is at the Boston Marathon in which she is running; he promises to show up, awaiting her at the finish line with a goofy sign. Well, this time he shows up and happens to be standing right next to one of the homemade bombs that went off at the 2013 Marathon. Both his legs are blown off by the blast. When he wakes up in the hospital and is informed about the extent of his injuries, he cracks a joke about being Lt. Dan from Forrest Gump.

He is unprepared for the public adulation that comes from being a survivor. An iconic photo of him being cared for by an unknown man in a cowboy hat (Sanz) has made him a celebrity. His blowzy mom (Richardson) is all about using his new-found fame to his advantage. Erin, overwhelmed by guilt, reconnects with him and becomes nurse and lover.

But Jeff is not the most mature of men to begin with and he self-medicates as the pressures of fame and the pain of physical therapy begin to become unbearable. He has become a symbol but he doesn’t want to be one; he is not interested in offering hope to the people of Boston and his old habits that tore him and Erin apart initially begin to resurface.

David Gordon Green is one of those directors who seem to have a loyal hardcore following but rarely gets the recognition he deserves. This is probably his most commercial film yet (which considering that one of his movies is The Pineapple Express is saying something) and certainly his most accessible.

He pushes all the right buttons here but admirably doesn’t make the film as cliché-ridden as it might be. He keeps things low-key and realistic. Bauman is far from heroic for most of this although by the end of the movie he seems to be accepting his role and begins to use it in a positive way.

Gyllenhaal is at the center of the film. He has become a regular contender for Oscar gold and this performance might very well put him in the mix again this year. He makes Jeff very human, very vulnerable and very flawed and yet charming enough with just enough heart o’ gold kinda stuff that we root for him even as his drunken antics and commitment phobia make us clench our collective teeth. One must also point out that the CGI that renders Gyllenhaal as legless is some of the most seamless and well done I’ve seen.

Maslany has been acclaimed for her performances in Orphan Black, shows that she has the chops to become a serious movie actress. She is much more low-key than Gyllenhaal here but she is really the heart and soul of the film. She is wracked by guilt, knowing if not for her that Jeff wouldn’t have been in harm’s way that Patriot’s Day. She recognizes that deep down Jeff has a good soul but he is also weak and this kind of burden doesn’t necessarily bode well for the future of a relationship but as long as he is trying, she knows she must hang in there for him.

The supporting cast is pretty strong as well, with particular kudos to British actress Richardson as Jeff’s overbearing mom and veteran character actor Clancy Brown as his estranged Dad. They are a bit New England Working Class typecast, but not knowing Bauman’s family at all I have to think that there is at least a germ of truth in there at least.

This isn’t always an easy film to watch. The movie doesn’t really dwell on the crime so much as the recovery and that’s a good thing – you can always watch Patriots Day if you are more interested in the hunt for the bombers. Still, the filmmakers pull no punches. We don’t get treated to endless scenes of agonizing physical therapy but more Bauman’s reaction to it. He becomes depressed and frightened of the staggering unwanted responsibilities he is forced to face. And he turns away from it, until he finally agrees – reluctantly I might add – to meet the angel of mercy who helped him on the worst day of his life.

Bauman doesn’t change overnight although it’s pretty close. There is certainly a turning point and it seems that Bauman makes a decision to live and be the kind of man he always had the potential to be. While I might question the night and day presentation of Bauman’s change of heart, there’s no doubt judged by his activities of late that there was one – a determination to become better. That’s what true strength is.

REASONS TO GO: Gyllenhaal could have an outside shot at an Oscar nomination. The CGI is absolutely perfect. The film is emotionally gritty and cathartic. The portrayal of Jeff Bauman pulls no punches.
REASONS TO STAY: The movie is occasionally guilty of being a bit manipulative.
FAMILY VALUES: There’s plenty of profanity, some disturbing images of carnage, violence, sex and nudity.
TRIVIAL PURSUIT: The release date for the film comes on co-star Tatiana Maslany’s 32nd birthday.
CRITICAL MASS: As of 9/24/17: Rotten Tomatoes: 95% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Marathon: The Patriot’s Day Bombing
FINAL RATING: 8/10
NEXT:
TBA

The Only Living Boy in New York


Reflections in my mind.

(2017) Drama (Roadside Attractions/Amazon) Callum Turner, Jeff Bridges, Kate Beckinsale, Pierce Brosnan, Cynthia Nixon, Kiersey Clemons, Tate Donovan, Wallace Shawn, Anh Duong, Debi Mazar, Ben Hollandsworth, John Bolger, Bill Camp, Richard Bekins, Ryan Speakman, Oliver Thornton, Alexander Sokovikov, Ed Jewett, Amy Hohn. Directed by Marc Webb

 

It is not uncommon for young people to finish college or drop out of college and end up feeling adrift. Okay, I’m done with school; now what? It’s an exciting and frightening concept at the same time.

Thomas Webb (Turner) – and to be sure, it’s Thomas and not Tommy or Tom – is in just such a pickle. He is the son of successful publisher Ethan (Brosnan) and artist Judith (Nixon) and has not quite moved back in with them but has taken an apartment on the Lower East Side, not far from his parents on the Upper East Side (and true New Yorkers will know that they might be not far away but they are worlds apart).

He’s not sure what to do with his life. He wants to be a writer but his publisher dad dismissed his work as “serviceable.” His mom is fragile emotionally and seems on the verge of falling apart. He is very much in love with Mimi (Clemons) who is more interested in a platonic relationship with him and to make matters worse, is headed for an internship in Slovakia. Thomas is trying to make some sense out of his life; fortunately, he meets W.F. Gerald (Bridges), a writer who lives in apartment 2B of his building (by extension meaning that Thomas lives in not 2B – think about it).. W.F. is kind of rough around the edges but he takes a fatherly interest in Thomas, which suits Thomas just fine since his own dad is distant to say the least.

But Thomas’ world begins to spin completely out of control when he discovers that his dad is having an affair. He becomes obsessed with the mystery lady and discovers that her name is Johanna (Beckinsale) and that she works as a contractor in Ethan’s office. Thomas confronts Johanna and tells her to stop seeing his dad; the cool and collected Johanna responds that what Thomas is really saying is that he wants to sleep with Johanna himself. As it turns out, she’s right.

Thomas is caught up in a dilemma and he doesn’t know how to get out of it. The hypocrisy of his situation isn’t lost on him and so he decides to tell his dad that he knows about Johanna and furthermore, he’s sleeping with her himself. However, this revelation threatens to destroy Thomas’ family altogether leading the way for another stunning revelation that changes Thomas’ life forever.

The critics have been pretty much panning this which is a bit of a shame; it’s not a flawless film but I ended up liking it. Bridges is absolutely wonderful as W.F. and Beckinsale is sexy as all get out as the Other Woman. The dialogue has also been called tin-eared but I found it pretty sharp most of the time. I know, this isn’t the way real people talk – but it’s the way sophisticated New York literary sorts talk. Make of that what you will.

The main trouble here is Turner. His character is wishy-washy, vindictive and fully self-involved. There’s nothing mature about him – and yet the sophisticated literary type ends up sleeping with him and later in the film, another woman falls in love with him. ‘Course, I’m not a woman but I find it absolutely flabbergasting that any woman would see him as the object of love. He offers nothing but immaturity and leaps to conclusion that rival Evel Knieval flying over Snake River Gorge.

And yet they do. Then again, there’s a bit of a literati soap opera feel to the whole thing. It doesn’t have to make sense; it just has to create drama. This is very Noo Yawk which may put some folks off on it – there are certain parts of the country where being from the Big Apple is a hanging offense. Some have compared this to the Woody Allen of the 90s which is not Allen’s best creative period; I can see the Allen comparison but I would push it back a decade.

The soundtrack is a bit eclectic but in a good way; you get Simon and Garfunkel (including the title song) and Dylan, both of whom evoke New York City in a certain era although this is set in modern day. The cast also overcomes some of the script’s flaws, particularly Bridges, Beckinsale and Nixon who does fragile about as well as anybody. There is some charm here, enough to make it a worthwhile alternative to late August film programming. This won’t be for everyone but it might just be for you.

REASONS TO GO: Bridges is absolutely delightful. The dialogue is sharp. There’s some strong music on the soundtrack.
REASONS TO STAY: Turner is completely unconvincing in the lead role. Could be a little too New York literati for most
FAMILY VALUES: There is profanity and a bit of drug-related material.
TRIVIAL PURSUIT: This is the second 2017 film with a title shared with a Simon and Garfunkel song (Baby Driver was the first).
CRITICAL MASS: As of 8/26/17: Rotten Tomatoes: 30% positive reviews. Metacritic: 34/100.
COMPARISON SHOPPING: The Graduate
FINAL RATING: 7/10
NEXT: Everything, Everything

Lady Macbeth


Here comes the bride.

(2016) Drama (Roadside Attractions) Florence Pugh, Cosmo Jarvis, Paul Hilton, Naomi Ackie, Christopher Fairbank, Golda Rosheuvel, Anton Palmer, Rebecca Manley, Fleur Houdjik, Cliff Burnett, David Kirkbride, Bill Fellows, Nicholas Lumley, Raymond Finn, Ian Conningham, Finn Burridge, Jack Robertson, Kima Sikazwe, Elliott Sinclair, Andrew Davis, Alan Billingham, Joseph Teague. Directed by William Oldroyd

 

In A Chorus Line, Cassie warbles “Can’t forget, won’t regret what I did for love.” The sentiment strikes a chord in most of us; we mostly will do just about anything for love. If all is fair in love and war as the saying goes, some of us will do unspeakable things for love.

Katherine (Pugh) really doesn’t know what love is and she wants someone to show her. The daughter of hard economic times, her family essentially sold her to wealthy Alexander (Hilton) and more to the point, his cold and demanding father Boris (Fairbank). She is treated pretty much like chattel, ordered to stay indoors – fresh air apparently being anathema to both father and son, although I suspect it is more of a control thing than a health thing.

When both Alexander and Boris are called away from the chilly, drafty home in the north of England on business, Katherine asserts herself as the lady of the manor, going out on long walks on the moor. Her Anglo-African maid Anna (Ackie), who is mostly mute, is witness to her transgressions but seems sympathetic. One afternoon she rescues a nude Anna from the abuse of the stable staff, particularly from Sebastian (Jarvis), an arrogant groomer. He later creeps into her room, presumably to rape her but she ends up seducing him and the two begin a torrid affair. It doesn’t go unnoticed.

When Boris returns home, he is nearly apoplectic and Katherine realizes that while her father-in-law and husband (who hasn’t consummated their marriage yet – to date all he’s done is masturbate while she stands naked facing the wall) live, she can never be with Sebastian. She therefore embarks on a course that is born out of equal parts desperation and terrible resolve.

Oldroyd – whose name sounds like a Jane Austen character – is known mostly for his stage direction, but you’d never know it here. Even though much of the action is limited to the fairly large house, the film never feels stagey although it is occasionally claustrophobic – purposely so, as no doubt Katherine is feeling restrained.

Initially, this feels like an adaptation of an Austen novel – I was surprised to discover that it’s actually an adaptation of a Russian novel – but as the movie wears on the feel changes. During the course of the movie Katherine does increasingly terrible things to the point where it becomes hard to have any sort of rooting interest in her. I began to think of the film as Quentin Tarantino’s Jane Austen – this is very much how I would imagine that Tarantino would direct an Austen-like thriller.

The pacing is pretty stately; at times it seems like the storyline is barely moving at all. There are endless scenes of Katherine sitting in boredom watching the clock on the wall or falling asleep. The point is made, Mr. Oldroyd. There are also elements of the story that are rather bewildering; Katherine, for example, being sexually attracted to a man who is obviously an utter bastard; how quickly she turns upon people who she supposedly cares about. At the end of the day, she ends up being an utter sociopath and because of her social status, society assumes that her claims are true and those of her servants are lies.

This is very much a class-conscious film and given that Sebastian is of mixed ancestry and that Anna is fully of African descent adds the race card in addition to the class card.. The most sympathy is reserved for Anna who really gets the shaft at the end of the film – something that African-American audiences know only too well. We even end up with some sympathy for Sebastian although once you think about what a rotten human being he is at the beginning of the film, that sympathy is somewhat tempered.

The acting here is actually quite swell and this may very well be a breakout role for Pugh. She has to play a role that is both sympathetic and not; at first, she is treated like a possession, little more than a slave to her husband and father-in-law and an ornament who is  meant to shine brightly without making much noise. However as her evil deeds begin to multiply it is difficult to see her as anything but an amoral sociopath. We question if she does all this for love of another, or for her own freedom. You get your answer to that by film’s end.

It should be noted there is a scene in which a horse is shot. The plot point is necessary to the film but the scene is done with particular brutality and is rather graphic. Those sensitive to animal suffering should be forewarned before going to see this. I found it unnerving myself although it is I must admit effectively staged, giving the audience an idea just how cold-blooded Katherine and Sebastian have become to that point.

That end is nothing like what you’ll expect. I don’t know how close it is to the ending of the original Nikolai Leskov story having never read it myself but certainly this didn’t go the way I expected. It’s certainly a lesson on class distinctions (and nobody understood that better than the citizens of Imperial Russia) but it is also a look at the effects of love as a kind of madness. As the Russians are wont to do, it is a bit of a downer but it also is a fascinating character study.

REASONS TO GO: The performances are uniformly solid. The story doesn’t go in the direction you expect it to.
REASONS TO STAY: The pacing is extremely slow and the plot is occasionally bewildering.
FAMILY VALUES: There is quite a bit of nudity, sex and sexuality; there’s also a scene of animal abuse.
TRIVIAL PURSUIT: Although set in England during the Regency era, the movie is actually based on a Russian novel, Lady Macbeth of Mtensk by Nikolai Leskov.
CRITICAL MASS: As of 8/4/17: Rotten Tomatoes: 89% positive reviews. Metacritic: 76/100.
COMPARISON SHOPPING: Mansfield Park
FINAL RATING: 7.5/10
NEXT: Brave New Jersey